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Bed of Lies
Following Sam's lead you're exploring caves under the 'Six White Fingers'. Unfortunately you're not alone. Cast * Sam Yao * Maxine Myers * Veronica McShell * Sigrid Hackenham * The Builder Plot Monitor The Sea Level New Canton's taken more casualties to get you out for this mission. Sam has a theory about how the Viking metal work you found may be a map for the labyrinth of caves below the 'Six White Fingers'. Want To See It First Anyway At the caves Sam tells you about supposed bogey men that sound a lot like zombies. Unfortunately Veronica's here too and you enter the caves together, while the Minister strategically hangs back. At The End Of This Passage Veronica's curiosity outweighs the awkwardness of working together again, but she's stopped short when Janine tells her what's happened to Nadia, and what the Minister's done. Something She Doesn't Have It seems the Minister lost her ability to create sentient zoms when she blew up the building in Battenbury, so Veronica's here at the caves looking for another way. Left, Then Immediately Right You've found the door to the labyrinth, but unfortunately opening it dislodges something which wakes up zombies armed with spears. From The Books Of Mary With the help of the map you evade the zoms, and end up in a tunnel with paintings on the walls. This gives Veronica a clue, but you'll have to follow her to find out. Another Way In You're at the south entrance to the central chamber when the Builder makes a re-appearance. The distraction lets Veronica slip inside the door by herself though, so you head to the north entrance. Gone In Half An Hour Maxine hatches a quiet plan to stop the Builder from escaping. You've got bigger problems though, as Sam tells you opening the door triggered something, and now the sea's coming in! Transcript SAM YAO: Ah, there it is. Man, I haven’t been here since I was a kid. What’s the news from New Canton? JANINE DE LUCA: At the time the transmission cut, they’d lost more than one hundred people setting up the distraction that got us through that cordon. MAXINE MYERS: We’d better make it count, then. If there’s something in there that the Minister wants more than anything, I want to take it from her. Whatever it is, if there’s power for her, we will take it. door opens, ocean waves SAM YAO: Alright. Things I know about this place: now, over there, there are the three witches fingers, poking up out of the cliff. Spooky, right? They’re supposed to have been Celtic or something. A bunch of archaeologists came here when I was a kid. They’d done imaging and knew that there was some interesting sealed caverns in a labyrinth pattern out under the ocean with passageways leading inland. But every time they tried to get into one of the passageways, it filled with water. JANINE DE LUCA: And your hypothesis is that the diagram we thought showed a honeycomb is actually a map to the labyrinth, and the marker on the Viking metalwork shows a place where we could break through? SAM YAO: Worth a shot, if the final piece of the cure is down there, which is what everyone, including Sigrid, seems to think. MAXINE MYERS: The headland’s been falling into the sea for centuries. Can’t take any vehicles out there, too risky. We have to run. JANINE DE LUCA: And you have to stay here, Mister Yao. Be our ears and eyes. Use the equipment to monitor the caves and the sea level. Tell us what’s coming. Runners, let’s move. MAXINE MYERS: It’s kind of beautiful, Sam. SAM YAO: Yeah. Yeah, we used to come down here all the time when we were kids. Paddling in the surf, fishing in the rock pools. Everyone know about those caves. That was where the archaeologists tried blowing holes in the rock a few times, until they almost got stuck at high tide. JANINE DE LUCA: I imagine it would be rather dangerous. SAM YAO: Oh yeah, there was a whole thing. A couple drowned down there when I was a teenager. All the grown-ups used to tell the children, “Don’t go down to the caves, or the “bogeys” will get you. MAXINE MYERS: “Bogeys”? SAM YAO: Yeah. They’re like skeletons, except they can talk, and they’ve been down there for a thousand years. MAXINE MYERS: Are we all starting to wonder whether that’s really a legend? JANINE DE LUCA: I believe the phrase is that my flesh is creeping. SAM YAO: laughs Well, it just made us all want to go down there even more, obviously. Anyway, yeah, I know the cave you’re in. If that Viking map is right, you should be able to put your dynamite in the niche at the back. Hey, do you guys see anyone? I thought I saw a shadow on the camera, like someone’s there. MAXINE MYERS: Sam, there are blue flowers growing here. The blue flowers that grow - VERONICA MCSHELL: Yes, I wondered about that. I think maybe the minerals in the cave walls mimic the effect of the trees those plants like to grow under. Hello, Doctor Myers, Runner Five. Hello, Janine. JANINE DE LUCA: Ah. Hello, Veronica. VERONICA MCSHELL: I’m alone. MAXINE MYERS: Yes, we can see that. VERONICA MCSHELL: The Minister wanted me to have some soldiers. She and her team have been following at a distance. Your distraction was very clever, but she saw through it. MAXINE MYERS: What do you want, Veronica? VERONICA MCSHELL: I said there was no need for soldiers. I told her not to hurt you. I want the same thing you do. We all just want to find out what’s in here, don’t we? MAXINE MYERS: But what are you going to do with what they find, Veronica? VERONICA MCSHELL: I don’t really care, I just want to find out. They gave me a gun, in case you caused trouble, but I said I didn’t think you would. I’m sort of a hostage, you see? You’re not going to kill me. I’m not going to kill you. The Minister won’t advance while I’m down here, or blow it up, or kill Sam, in case that makes you hurt me. We can find out what’s there together. SAM YAO: Guys, you have an hour until the tide starts to turn. Whatever you’re going to do, do it quickly. JANINE DE LUCA: I’m setting the dynamite. Stand back. explosion There! Yes. The wall at the back of this cave was thin and there’s a crawlway leading down. Five, you take the rear. Miss McShell, you will proceed at the front of the party. I want to see what you are doing at all times. VERONICA MCSHELL: Suits me. I want to see it first anyway. Let’s go. MAXINE MYERS: Ooh, that was a squeeze. JANINE DE LUCA: Several of the passages have become more silted up with calcium deposits since the days our map was made. VERONICA MCSHELL: And people were shorter then, anyway. But look, we’ve got a level passage to run, now. Did you know this place was originally designed by the Celts to mimic a sacred labyrinth? The Vikings used a preexisting structure. If we take a wrong turn, we could head miles in the wrong direction. It’s oriented towards the rising sun, you know. I think that the sun would strike the central chamber at winter solstice if we weren’t underwater. We’re really very lucky to be the first people to come down here in more than three thousand years! SAM YAO: Yeah, I think maybe we’d rather it wasn’t under these exact circumstances. VERONICA MCSHELL: If it wasn’t for what happened, maybe no one would ever have come down here at all. I talk about that with Nadia all the time – the things we’d never have experienced if the zombies hadn’t come, the people we’d never have met. Like, I would never have met her. Is she there? Can I talk to her? MAXINE MYERS: Oh, Veronica. SAM YAO: You didn’t hear? VERONICA MCSHELL: No. What? JANINE DE LUCA: Miss Al Hanaki took a bullet while attempting to assist Runner Five to spread the news of what your new friend the Minister has done. Her life has been saved, but she’ll never walk again. VERONICA MCSHELL: Oh… oh. But…. she really liked walking. She liked long walks. SAM YAO: And the rest of us liked no one trying to steal children for medical experiments, so we made our priorities. VERONICA MCSHELL: Oh, but Sigrid wouldn’t have done anything to hurt the baby. SAM YAO: Are you sure? When she started the whole zombie apocalypse? VERONICA MCSHELL: What do you mean? JANINE DE LUCA: I know she told you that the zombie virus was an accident, and interaction between two experiments. But she engineered both of those experiments and brought them together intentionally. We have hard evidence found in the laboratories under Abel that it was the Minister’s experiments on the missing Viking zombie from the Comansys lab at Hawksmill Museum that started the zombie plague. VERONICA MCSHELL: Oh, there was one missing from one of those niches! Did you find it? Can I see it? MAXINE MYERS: That’s not the point, Veronica. She isolated the virus on purpose. She infected people on purpose. Your parents, everyone who’s died - it’s because of her. VERONICA MCSHELL: But why would she do that? JANINE DE LUCA: From the little we’ve gleaned, she seems to believe that some purification of the human race was needed. Never a pleasant doctrine. SIGRID HAKKINEN: Veronica? Veronica, come in, dear. It’s me, Sigrid. Can you tell me what you’re seeing? I need to know where you are, so I can send Steven to – cuts off VERONICA MCSHELL: I don’t think I want to talk to her now. I needed her. She knew all those things, but she’s told me everything she knows now. I don’t need her anymore. MAXINE MYERS: We can keep you safe, Veronica. VERONICA MCSHELL: Let’s keep moving. The entrance to the labyrinth should be at the end of this passage. ignites MAXINE MYERS: Wow. Well, now we’ve lit the flare, we can see… wow. JANINE DE LUCA: I believe we’re beneath the very end of the headland now. This cave must have been formed by natural tidal processes, hollowing out the softer limestone. SAM YAO: What’s stopping the sea from coming in there now? VERONICA MCSHELL: No one knows. Very clever engineering, probably. Ancient peoples knew lots of things that we’ve forgotten. Like this Mary. She must have been clever. I’d have liked to meet her, to find out what she hid here. MAXINE MYERS: That’s what you think is in here, something that the woman who invented alchemy hid? VERONICA MCSHELL: Sigrid has Mary’s books. It was your brother Tom, Janine, that helped get them from that fort in Algeria. The books say that Mary had learned from Viking writings how to make a person die and come back to life, but nothing in the book says how to do it. And that vial you found in the carnival was empty. Not even a trace of anything in there. But the writing made us think that whatever it was that made that man Harry into an S-type zombie must have come from here. SAM YAO: Wait a second, can’t Sigrid do that anyway? She turned that double of Runner Five into a half-sentient zombie, didn’t she? VERONICA MCSHELL: Yes, but it’s funny. All she knew was that there was a building in Battenbury where she used to have her headquarters, and if someone had been bitten and then walked through that building, they’d become one of those zombies with a bit of neural activity still preserved. Anyway, she blew up that building when you got too close to it a few months ago, so now she can’t do it anymore either. MAXINE MYERS: So whatever we’re going to find in here is something she doesn’t have. VERONICA MCSHELL: Probably the final piece of the cure, I think. Come on. This is a flat bit. Let’s run. JANINE DE LUCA: This looks like it. A door carved into the rock. VERONICA MCSHELL: Let’s open it! MAXINE MYERS: We think that’s the door to the labyrinth, the one that stretches out under the sea? JANINE DE LUCA: Everything has been leading us here. Whatever we’re looking for is through those doors. MAXINE MYERS: Shoulders to them, then. scrape open, rocks fall MAXINE MYERS: What was that? VERONICA MCSHELL: I think we pushed something down on the other side of the doors. I expect it’s not important. moan, chains rattle, weaponry clangs MAXINE MYERS: So you don’t think that what we did was to um, wake up some millennium-old zombies, then? Zombies with rusty but still surprisingly effective-looking spears? JANINE DE LUCA: They’re shamblers. We can outrun them. Left, and then immediately right. Go. Go! VERONICA MCSHELL: I think we’ve got away from them. They’ll still be there when we get back. Did you see how - ? JANINE DE LUCA: Their flesh was dried, but not decayed? Yes. MAXINE MYERS: It could be a different strain of the zombie virus than we’ve encountered before. SAM YAO: Probably an older one, right? Whatever was done there, well, that’s the beginning of it all. VERONICA MCSHELL: Look at these wall paintings. MAXINE MYERS: People are lying down. They’re being fed a white powder. JANINE DE LUCA: It looks as though it’s descending from the sky. There are clouds. VERONICA MCSHELL: Or from the ceiling. laughs Oh, I see! Doctor Dee took it from the books of Mary. Not the writings, the books! MAXINE MYERS: What do you mean? VERONICA MCSHELL: I’ve got it, I really think I’ve got it! Come on! Come on quickly, I’ll show you. VERONICA MCSHELL: We must be getting close to the center of the labyrinth now. SAM YAO: Yeah. By the position of your trackers, and the maps we’ve got, you’re pretty close. VERONICA MCSHELL: Look! End of that passage. There’s another stone doorway. JANINE DE LUCA: The central chamber. There are two entrances, to the north and the south. MAXINE MYERS: So we’re coming in what, the south? SAM YAO: Um, yeah, I think so. Why would they build two entrances anyway? VERONICA MCSHELL: Ritual magic. One door to let the spirits in, another to let them out. There’s some kind of mechanism here. JANINE DE LUCA: Someone’s coming. Sam, have you seen anyone come in? SAM YAO: Not as such. Is it those zombies? MAXINE MYERS: Weapons at the ready. STEVE SISSAY: Hey now. Hey! That’s not such a friendly way to greet an old mate, is it? MAXINE MYERS: Oh, it’s you. JANINE DE LUCA: You’re not our mate, Mister Sissay. STEVE SISSAY: Veronica, you turned off your transmitter. The Minister’s not happy. VERONICA MCSHELL: I don’t really care if she’s happy. Yes! This clicks into here, and - scrapes open MAXINE MYERS: Hey, you’ve got the door to the central chamber open! Just a crack, but we can - VERONICA MCSHELL: Just enough to let me in and down the steps. scrapes shut JANINE DE LUCA: Miss McShell! Open this door at once! STEVE SISSAY: Veronica! What are you playing at? Open the door. VERONICA MCSHELL: I’m sorry. I am. This chamber is too delicate. We can’t risk more than one of us being in here. I need to take my time to examine it. STEVE SISSAY: You said there’s another way in? MAXINE MYERS: Yeah, but - STEVE SISSAY: We’re going there now! JANINE DE LUCA: That’s in our interests too, Five. Run. JANINE DE LUCA: Of course, you realize we can’t let you leave with the secrets that are inside that chamber. STEVE SISSAY: I’m willing to take my chances in a fair fight. Three against one. Seems reasonable. MAXINE MYERS: whispers When you get to the chamber, and he’s focusing on getting that door open, Janine will distract him, and you go for his gun, Five! JANINE DE LUCA: How are you planning to persuade Miss McShell to do what you ask? STEVE SISSAY: I don’t know that persuading is the thing. Pretty sure she’s been playing all of us for fools. But we’ve got the bigger labs, and that is what she cares about. SAM YAO: Five, Janine, Maxie, listen. Something happened when Veronica opened that door. Now, I don’t know if the Minister will have picked it up yet. When Veronica opened the door, something triggered at the far end of the labyrinth. She wasn’t kidding that they were clever engineers. The sea’s coming in. This whole place will be gone in half an hour. Every trace of it will be swept into the ocean. Any hope that we could ever understand the zombie plague or how to cure it will be gone. And you’ll be drowned. Category:Mission Category:Season Four